The Independent Moviemaker - Understanding Genre: Film Noir

Tracing its origins to the German Expressionism and the dark, pessimistic films coming out of Germany in the 1920s, film noir is a genre unlike any other. While many genres deal with specific storylines, and the noir film does as well, film noir is more of a style than a genre. And yet, film noir goes beyond the dark, moody lighting of a rain-soaked city at night. The noir film possesses the same defining characteristics of any other genre; however, where it differs is in the flexibility of its conventions. Noir has proven itself to be an extremely adaptable movie form, however it does possess a set of expectations the screenwriter must address when working within this genre.

Motifs of Film Noir

1. The central character lives on the edge, merely existing in his world.

2. The hero is anything but heroic in the classic sense. Heroes in noir films can be classified as anti-heroes, but more than that, heroes in film noir have to use all of their skills, not to excel, but simply to survive.

3. The hero seeks a savior. The savior is another character in the story that holds the key to happiness and wish-fulfillment of the hero. Oftentimes this character is a woman.

4. The relationship with the savior is marked by sexual desire.

5. The hero will be betrayed by the savior in the sexual relationship aspect of the story. The byproduct of this betrayal is violence.

6. The city (representing modern society) is what has twisted the hero, and made him cynical.

7. There are no children in this genre. Married couples don't have children. Families are virtually non-existent. Children represent hope for the future, which is something not found within film noir.

8. The hero is alone, even when surrounded by people. This sense of isolation is palpable throughout the noir script.

Film noir has a gritty, streetwise edge to it, akin to the gangster film, and yet different. Whereas the gangster genre represents the underside of the American dream, film noir represents its nightmares.

Classics of the Noir Genre

Double Indemnity - (1944) Directed by: Billy Wilder
The Big Sleep -- (1946) Directed by: Howard Hawks
Force of Evil -- (1948) Directed by: Abraham Polonsky
The Third Man -- (1949) Directed by: Carol Reed
The Maltese Falcon -- (1941) Directed by: John Huston
The Big Combo (1955) Directed by: Joseph Lewis
Gilda -- (1946) Directed by: Charles Vidor

The America that survived the Great Depression and World War II was a different land than it had been. It had emerged successful but disillusioned. Interestingly, noir's origins followed another catastrophic war and drew many of the same conclusions. The world is not a clean, well-lighted place, but a dark, lonely one in which the best you can do is survive. Every comfort is stripped away. You can trust no one. Friends will betray you for a buck. Women are enticing, temptresses, but like the Sirens of old, to answer their call will bring destruction. Indeed, love IS destruction in the jaded world of film noir.

Modern Versions of Film Noir

Body Heat - (1971) Directed by: Lawrence Kasdan
Chinatown - (1974) Directed by: Roman Polanski
Basic Instinct (1992) - Directed by: Paul Verhoeven
Romeo is Bleeding (1993) Directed by: Peter Medak
The Usual Suspects (1995) Directed by: Bryan Singer

Considering how pessimistic this genre truly is, it's surprising it has lasted so long, yet this very pessimism lends itself to fashion powerful, socially relevant stories. Noir is excellent for generating tension and conflict. The only problem with noir today is that many think of it as a style of cinematography rather than a form of storytelling.